melodic statement. It is, for a time, probably an evident continuation
and development of the melodic theme embodied in the First Part; but it
does not end there; it exhibits a retrospective bent, and--when
thoroughly legitimate--its last few measures prepare for, and lead
into, the melodic member with which the piece began. Its form is
optional; but, as a rule, decisive cadence-impressions are avoided,
unless it be the composer's intention to _close_ it with a perfect
cadence (upon any _other_ than the principal tonic), and accomplish the
"return to the beginning" by means of a separate returning passage,
called the Re-transition.

PART III.--The recurrence and corroboration of the original statement;
_the reproduction of Part I_, and therewith the fulfilment of the
important principle of return and confirmation. The reproduction is
sometimes exact and complete; sometimes slight changes, or even
striking variations, possibly certain radical alterations, occur;
sometimes it is only a partial recurrence, the first few measures being
sufficient to prove the "Return"; sometimes, on the other hand,
considerable material (more or less related) is added, so that Part III
is longer than the First Part.

From this it appears that much latitude is given to the composer, in
his formulation of the Third Part. All that the Part has to prove, is
its identity as confirmation of the leading motive, and this it may do
in many ways, and with great freedom of detail, without obscuring the
main purpose. It is precisely this richness of opportunity, this
freedom of detail, which enhances the beauty and value of the
tripartite forms.

The following is a very regular example of the Three-Part Song-form
(Schumann, op. 68, No. 20):--

[Illustration: Example 53. Fragment of Schumann.]

[Illustration: Example 53 continued.]

This version is as complete as it can conveniently be made upon one
single staff (chosen in order to economize space); but the student will
find the formal design somewhat more plastically defined in the
original, complete form, and he is therefore expected to refer to the
latter. Part I is an unusually regular double-period, with three
semicadences and a strong perfect cadence, on the original tonic, to
mark its conclusion; the double-bar is an additional confirmation of
the end of the Part. The second Part runs in the key of E major (the
dominant of the original key) throughout; its form is only a phras